Violin Makers: Nicolò Amati (1596–1684) and Antonio Stradivari (1644–1737) | Essay | Heilbrunn Timeline of Art History | The Metropolitan Museum of Art The Metropolitan Museum of Art Violin Makers: Nicolò Amati (1596–1684) and Antonio Stradivari (1644–1737) See works of art Essay The Violin in the Sixteenth Century The violin family appeared in essentially its modern form in northern Italy , specifically in Brescia and Cremona, about 1550. Andrea Amati (ca. 1511–1580) of Cremona was among the first generation of makers to add a fourth string to the violin and to create the standard sizes of cello, viola, and violin in their classic modern shapes. His instruments, which show an elegance of line and more delicacy and lightness than many later examples, are exceedingly rare; eight small and large violins, three violas, and five violoncellos are all that survive.

Eight of these bear the coat of arms of Charles IX of France , and so were probably completed before the French king’s death in 1574. (The authenticity of these instruments has recently been challenged, possibly making authenticated instruments by Andrea Amati even more scarce.) The Museum’s example by Andrea Amati is a large violin ( 1999.26 ), 354 mm (13.9 inches) long, highly decorated, with the Latin motto QVO VNICO PROPVGNACVLO STAT STABIQ(ue) RELIGIO (“By this defense alone religion shall stand”) inlaid on its ribs or sides. It is one of a matched set of two large violins and a viola built for an unidentified Italian marquis. The sixteenth-century violin was played primarily by professionals, as opposed to the viol ( 1990.223 ), which was the bowed stringed instrument preferred by amateurs. The violin’s lively attack was particularly suited to dance accompaniment. Consorts consisting of a violin, two violas, and a cello became among the most popular choice of professional instrumental groups in the sixteenth century.

The violin’s more brilliant tone suited playing for dance, but the more refined tone and appearance of Cremonese violins led to their acceptance by aristocratic amateurs. Nicolò Amati (1596–1684) By 1600, Cremona was the undisputed center of violin making in Europe. During the sixteenth century and into the seventeenth, a new music aesthetic emerged in western Europe, emphasizing the soloist’s ability to express emotion and to dazzle with virtuosity. The growing importance of the violin played a significant role in this change, both as a solo instrument and as a component of the nascent string orchestra. Nicolò Amati, grandson of Andrea Amati, son and nephew of two other Amati instrument builders, is today considered the finest craftsman of this family of luthiers. This is fortunate, because he was the only member of his family and indeed the only violin maker in Cremona to survive the famine and plague that devastated that city in the years around 1630. In a very real sense, Nicolò single-handedly passed down the tradition of fine Cremonese violin making to subsequent generations.

His violins ( 1974.229 ) were somewhat wider than other makers’ instruments (a design we now call the “Grand Amati”), with a unique, beautifully shaped soundhole and a strong sound. During Nicolò’s working life, the Amati workshop was one of the finest violin ateliers in Europe, training many apprentices who went on to careers as important instrument builders, possibly including the young Antonio Stradivari. Antonio Stradivari (1644–1737) A century of violin making in Cremona culminated in the instruments from the workshop of Antonio Stradivari. Violins are judged by their tone, responsiveness, elegance of design, visual appeal, and precision of their craft, and the instruments of Stradivari are superlative in all categories. From his extraordinary seventy-year career as a luthier, 650 instruments survive, a testament both to his productivity and longevity, and to the high value placed on his instruments.

During the 1680s, Stradivari moved away from Nicolò Amati’s style, experimenting with his own soundhole shapes, softer varnish, wider purfling (the inlaid border near the edges of the violin’s back and front; 1990.7 ), and a stronger tone. During the 1690s, he worked to perfect a “long pattern” violin, with a longer, narrower body and a darker tone than most Cremonese strings. Two of the Museum’s Stradivari violins are of this type ( 55.86a-c ; 34.86.1 ). Beginning about 1700, Stradivari reverted to a shorter, wider design, his “grand pattern,” and embarked on the two decades that many writers call his “golden age.” The third of the Museum’s Stradivari violins ( 34.86.2 ) dates from this period.

After 1700, Stradivari also experimented with building smaller violoncellos ( L.2013.71a–g ), influenced by the instruments of the Brescian maker Giovanni Paolo Maggini (ca. 1581–ca. 1632) and later Cremonese makers; these smaller instruments aided in the rise of the cello as a virtuoso solo instrument. Stradivari also made violas and a number of stringed instruments, including viols , lutes, mandolins, guitars , and harps. At his death, Stradivari’s business passed into the hands of his son, Francesco (1671–1743). Stradivari’s Posthumous Reputation and the Modernization of His Instruments While the instruments of Stradivari were certainly appreciated during his long lifetime, it was not until the late eighteenth century, when several violin virtuosi publicly favored instruments by Stradivari and Bartolomeo Giuseppe Guarneri (“del Gesù”) (1698–1744), that his work was seen as the epitome of the luthier’s art.

Throughout the 250 years since, professional violinists have considered the best instruments of the seventeenth and eighteenth centuries, by Stradivari and others, to be the most highly valued. During the same time, the demands on the violin have grown and changed. As a result, nearly all of the extant Stradivari violins have been modernized to accommodate later virtuosi’s musical demands. While the body of a Baroque violin is essentially the same as a modern instrument, other traits differ. The Baroque neck is a bit shorter and thicker, and projects straight out of the body, rather than bending back. The fingerboard has gradually lengthened as the instrument’s range has grown higher. The Baroque sound post (a wooden stick wedged inside between the belly and back of the violin under the treble foot of the bridge) was slimmer, and the bass bar (a piece of wood glued inside under the bass foot of the bridge) was thinner and shorter, changing the tone of the instrument. Modern violin strings are made of steel, not gut, and are strung about 50 percent tighter than Baroque strings. The Baroque bridge was lower and flatter.

Violin chin rests were not used until the nineteenth century, and so shifting the left hand from position to position was audible. All three of the Museum’s Stradivari violins were modernized at some point, but “The Gould” ( 55.86a-c ) has been restored with a Baroque-style neck, fingerboard, bridge, tailpiece, bass bar, and gut strings. Bows have changed as well. Eighteenth-century bows, many built by French makers, were differently shaped, with hair not as tightly strung as later models. The older bows had a more pronounced difference between up- and down-strokes. Wendy Powers October 2003 Citation Powers, Wendy. “Violin Makers: Nicolò Amati (1596–1684) and Antonio Stradivari (1644–1737).” In Heilbrunn Timeline of Art History. New York: The Metropolitan Museum of Art, 2000–. (October 2003) Additional Essays by Wendy Powers Dobney, Jayson Kerr, and Wendy Powers.

“ The Guitar .” (September 2007) EARLY HISTORY OF THE VIOLIN FAMILY IN ITALY EARLY HISTORY OF THE VIOLIN FAMILY IN ITALY violin, cello, viola, David Gusset, David Gussett, violoncello, stringed instruments,Stradivari, Stradivarius, Cremona, Guarneri, Guarnerius, instrument maker, history, Italian, Amati,AFVBM, violin varnish, design, luthier, making Amati, Stradivari and Guarneri, whose names have become practically synonymous with the word violin, lived and worked in Cremona Italy in the 16th, 17th and 18th centuries. Their works represented the highest achievements of a cultural and artistic heritage--a cumulative total of knowledge brought forth by generations of artists, craftsmen, scientists, mathematicians and musical instrument makers of Renaissance Italy. During the 16th century, the northern Italian cities of Cremona, Brescia and Venice were all active centers of stringed instrument making. Cremona had the greatest influence in the early development of the violin.

Andrea Amati (born before 1511, died December 24th[?], 1577) of Cremona was most likely the originator of the violin and its family. The oldest surviving instruments of Andrea Amati date from 1564 and were part of a set of decorated instruments (bearing elaborate painted and gilded scenes, symbols and fleur-de-lys) commissioned by Charles IX of France. Of the set, only eight survive. The others were lost or destroyed during the French Revolution. The Cremonese tradition was carried on by Andrea's two sons Antonio (c. 1540-February 1607) and Girolamo (1561-1630), known as the Brothers Amati. Girolamo's son Nicola (1596-1684) was the only Cremonese violin maker to have survived the famine of 1628 and the plague which swept through Cremona two years later. By 1632 the plague reached the city of Brescia taking the life of the violin maker, Giovanni Paolo Maggini.

Being the sole survivor of a violin making tradition, the task of carrying on that tradition then fell to Nicola, and he proved himself to be most able. During his lifetime he produced some of the most beautiful violins ever made and has come to be regarded as the best maker of the Amati family. Nicola also disseminated his knowledge and skills to his many pupils including Francesco Rugeri (1620-c.1695) and Andrea Guarneri (c. 1626-1698, patriarch of the Guarneri family of violin makers) and his own son Girolamo II (1649-1740). Other pupils of his may have included Giovanni Battista Rogeri, possibly Jakob Stainer (c. 1617-1683) and more than likely, Antonio Stradivari (1644-1737). Adverse economic and political circumstances had an affect on the Cremonese makers as early as the 1730s and marked the beginning of a steady decline in the art. The end of the noblest era of Italian violin making came sometime around the late 18th century.

The last of the Cremonese makers' works were turned out with ever greater haste. The instruments of Giuseppe Guarneri del Gesu (1698-1744), grandson of Andrea Guarneri, exemplify this trend. Over a relatively short lifetime, the visual/aesthetic refinery of his earlier work gave way to increasingly erratic--some say capricious--workmanship in his last few years. Despite his hurried approach to detail in his later works, he managed to retain his magnificent varnish and to stay true to his architectural and tonal ideals. His violins along with the numerous instruments of Stradivari are today the most valued and sought after by concert artists and collectors for their sonorous qualities. The Sweet Sound of a Stradivarius : NPR The Sweet Sound of a Stradivarius Embed Embed The Sweet Sound of a Stradivarius A Visit to the Library of Congress' Musical Collection The Sweet Sound of a Stradivarius Embed Embed Commentary heard on Morning Edition Miles Hoffman Miles Hoffman Tries Out the 'Betts' Stradivarius Violin Only Available in Archive Formats.

Library of Congress toggle caption Music commentator Miles Hoffman, a nationally renowned violist, and NPR's Steve Inskeep visit the Library of Congress' small, priceless collection of Stradivarius instruments. Hoffman plays some of the rarest instruments in the collection, including a violin called the "Betts," crafted in 1704 by Antonio Stradivari. "What's interesting about playing a Strad, about playing any great old Italian instrument, is under the ear, there's a sweetness to it, there's a depth of sound," Hoffman says. "And also you have the sense that no matter how much sound is coming out of the instrument, somehow or other there's always more." "It's like a great race car — there's more power than you need and it responds to the slightest touch..." Hoffman says. Below is background on the history and sound of Stradivarius instruments, from The NPR Classical Music Companion by Miles Hoffman: Stradivarius Stradivarius is the Latinized last name of Antonio Stradivari (ca. 1644-1737), generally regarded as history's greatest maker.

Stradivari was Italian — he lived and worked all his life in the northern Italian city of Cremona, not far from Milan — but the paper labels he glued inside his violins were in Latin: Article continues after sponsorship (Antonio Stradivari of Cremona Made in the year ——). This is why a violin made by Stradivari is known as a Stradivarius. Musicians and instrument dealers often take the liberty of shortening the name to "Strad," as in, "She just bought a beautiful Strad." Stradivari learned his craft as an apprentice to Nicolò Amati (1596-1684), whose paternal grandfather, Andrea Amati (ca. 1510-1580), is thought to have perfected the form of the modern violin, and whose family established the illustrious tradition that made Cremona the home of the world's finest violin makers for two and a half centuries. Working into his nineties, Stradivari probably made a thousand violins or more, of which about 650 survive. A Stradivarius today can cost a fortune: some of his instruments bring prices in the millions of dollars.

(Grandfather's old violin in the attic is not likely to be a Strad, unfortunately, even if it has a label that says "Stradivarius." Such labels are found in mass-produced violins by the thousands, and they usually just indicate that the instruments are copies of Stradivarius models.) Stradivari also made cellos and violas, although in far smaller numbers than violins — somewhere upward of fifty-five cellos survive, and fewer than a dozen violas. He made other kinds of stringed instruments, as well, including guitars (only two survive) and most probably harps, lutes, and mandolins. Why are Stradivarius instruments so highly prized? The most important reason by far is their sound. The best Strads have a rich, refined, resonant sound from the lowest notes to the highest. They're versatile: the same instrument can produce a dark, deep, velvety sound, or a stunningly brilliant sound. And they're powerful. A striking characteristic of Strads is that their sound seems to blossom, so that even over great distances they project clearly and beautifully.

The power of a Strad, however, is not just a question of volume; true power depends on purity of sound, which is the quality that also enables a Strad to project beautifully in very soft passages, even in the largest concert halls. Lesser-quality instruments may seem quite loud "under the ear," but they don't project as well because there's more surface noise and less core to their sound. A fine Stradivarius is also a joy to play. It's extremely responsive to the slightest changes in pressure and contact from the bow, and it feels easy to play. The violinist never has to force the sound from the instrument, and there always seems to be more sound available when needed. You might say that playing a Strad is like driving a high-performance automobile: it responds to the slightest touch, and there's always power in reserve. Although there are many theories, there is no one secret to the sound of a Stradivarius and no simple explanation of Stradivari's genius.

Many factors contribute to determining how a violin sounds, including the qualities of the wood, the shape of the instrument, the degree of arching and the precise variations in thickness of the wooden plates that form the belly and the back, and the qualities of the varnish, which seals and protects the wood but allows it to vibrate. The physical beauty of Stradivari's instruments attests to his excellent training, brilliant craftsmanship, and his eye for form and proportion. Beyond that, he must also have had a remarkable ear, along with an extraordinary knowledge of wood and a profound understanding of its acoustical properties and possibilities. Do Strads get better with age? Perhaps, but age itself is not responsible for their quality: Stradivari was famous during his own lifetime, and he made instruments on commission for kings, cardinals, and distinguished musicians and collectors all over Europe. Not all Stradivarius instruments sound terrific, though. Each one has its individual characteristics, and although the general level is remarkably high, some are far better than others. The greatest Strads may be unsurpassed, but not every Strad sounds better than the best violins of less celebrated makers.

There is even one violin maker whose instruments, far fewer in number, are considered by many concert violinists to be more desirable than those of Stradivari: Giuseppe Guarneri (1681-1744). Guarneri was a third-generation member of another of the great violin-making families of Cremona. The name he used on his labels was Joseph Guarnerius, but he's also known as Guarnerius del Gesù (of Jesus), or simply del Gesù, because his labels included a cross and the inscription IHS (for Jesus Hominum Salvator, Jesus, Savior of Men). Guarneri's violins, while often less refined in appearance than those of Stradivari, are renowned for their tonal beauty and power. The nineteenth-century Italian virtuoso Niccolò Paganini played a del Gesu (his instrument was nicknamed "the Cannon" for its powerful sound) and did much to establish the Guarnerius reputation. A common question: In a blind test, could a nonmusician or "uneducated" listener tell the difference between a Stradivarius and some other violin? The answer is that it depends.

If the other violin, whether old or modern, were an excellent one by a fine maker, the differences might not be readily apparent. But in a direct, side-by-side comparison of a great Stradivarius with a commercially produced instrument — or even with a handcrafted violin that was merely very good — the differences would be absolutely clear, even to the most inexperienced listener. From The NPR Classical Music Companion by Miles Hoffman, copyright 1997 by Miles Hoffman and National Public Radio. All rights reserved. The Stradivari Family The Stradivari Family The Stradivari Family † Catholic_Encyclopedia ► The Stradivari Family The name Stradivari goes back to the Middle Ages ; we find it spelt in various ways, Stradivare, Stradiverto, Stradivertus. Fetis professes to find it in the municipal archives of Cremona for the years 1127 and 1186. The name was certainly borne by more or less distinguished citizens of Cremona during the twelfth and thirteenth centuries.

Signor Mandelli gives, as the earliest known mention of it, a document dated May, 1188, in which it is recorded that certain pieces of land were leased by the canon and chief warden of the cathedral of Cremona to one Giovanni Stradiverto and his heirs. Arisi, the Cremonese monk, who wrote concerning Antonio Stradivari in 1720, mentions: Galiero Stradivari, a learned Orientalist, who lived in the thirteenth century; Alessandro Stradivari, another Orientalist, about the end of the thirteenth century; Costanzo Stradivari, of about the same period, a monk, who wrote a treatise on the natural philosophy of Aristotle . Fetis also mentions: Guglielmus Stradivertus, an excellent lawyer, who died in 1439. It is certain that the name was a common one in Cremona, but we have no exact evidence to prove that Stradivari, the violin-maker, was directly connected with the above-mentioned persons.

The earliest documentary record of his ancestry is to be found in the marriage registry of the cathedral of Cremona, where there is an entry, dated April, 1600, of the marriage of Giulio Cesare Stradivari, of the parish of S. Michele Vecchio, to Doralice Milani, of the parish of the cathedral. They had a son, Alessandro, christened in the church of S. Michele in January, 1602; and in the register of the parish of S. Prospero, is the entry of the marriage of this Alessandro Stradivari and Anna Moroni — the father and mother of Antonio. Francesco Stradivari, son of Antonio, b. 1 Feb., 1671; d. 11 May, 1743. He followed his father's calling, and was the only one of Stradivari's sons to inherit any of the father's skill in making stringed instruments.

He made very good violins; some are signed by himself, and others, made with the, help of his brother Omobono, are signed "sotto la disciplina d'Antonio Stradivari." His work is quite distinct in character from Antonio's. Both Francesco and Omobono were overshadowed by the genius of their father; they produced good work, if not work of the highest quality. Omobono Stradivari, son of Antonio, b. 14 Nov., 1679; d. 8 June, 1742. He also followed his father's trade, and made some violins in conjunction with his brother Francesco. His work was chiefly confined to the repair and fitting up of instruments; possibly he made bows, instrument-cases — which were specially designed for wealthy patrons, and often things of great value and beauty — and various fittings, such as bridges, pegs, tail-pieces, etc. Paolo Stradivari, the youngest son of Antonio by a second marriage, b. 26 Jan., 1708; d. 14 Oct., 1776.

He was a cloth merchant, and the only son of the great Stradivari who married. On the death of Francesco, Paolo received the collection of tools, moulds, patterns, drawings, correspondence, and memoranda left by their father, and also several instruments, including the famous "Alard" Strad of 1715, and the unrivalled "Messie" violin of 1716. In 1775 this collection of relics was sold by Paolo to the Count Cozio de Salabue, and afterwards passed into the hands of the late Marquis Alessandro Dalla Valle. Cesare Stradivari, a grandson of Paolo, b. in 1789, was celebrated as a Physician. GROVE, Dictionary of Music and Musicians ( London , 1898), III; FETIS, Notice of Anthony Stradivari, tr. BISHOP ( London , 1864).

ELIZABETH LORKIN The String Family: Instruments, History & Facts - Video & Lesson Transcript | Study.com The String Family: Instruments, History & Facts Watch short & fun videos Start Your Free Trial Today An error occurred trying to load this video. Try refreshing the page, or contact customer support. You must create an account to continue watching Register for a free trial Are you a student or a teacher? I am a student Start Your Free Trial To Continue Watching As a member, you'll also get unlimited access to over lessons in math, English, science, history, and more. Plus, get practice tests, quizzes, and personalized coaching to help you succeed. Coming up next: Binary Form in Music: Definition & Examples You're on a roll. Keep up the good work! Your next lesson will play in 10 seconds 0:03 The String Family Add to Add to Add to Want to watch this again later? Log in or sign up to add this lesson to a Custom Course. Custom Courses are courses that you create from Study.com lessons. Use them just like other courses to track progress, access quizzes and exams, and share content. Teachers Organize and share selected lessons with your class. Make planning easier by creating your own custom course.

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This lesson looks at the history, construction, and function of the string family instruments of the Western orchestra. The strings form the largest orchestral section and have been called the 'heart' of the modern orchestra. The String Family The string family of the modern Western orchestra is typically thought of as the members of the violin family: violin, viola, violoncello, more commonly known as 'cello,' and contrabass, also called the double bass or sometimes just 'bass.' Technically, there are two other standard orchestra members that are also stringed instruments: the harp and the piano. While the violin family instruments are typically played using a bow, the harp is a plucked string instrument, and the piano is a hammered string instrument. However, the piano is often considered to be a member of the percussion group due to its playing mechanism. Forerunners of the Modern Family String instruments are known as chordophones, a term that comes from the Greek words khorde, meaning 'string,' and phonos, meaning 'sound' or 'voice.' Chordophones have a long history.

The earliest surviving stringed instruments to date are the Lyres of Ur, plucked chordophones, which currently exist in fragments that date back to 4,500 years ago. The first bowed chordophones were probably developed in central Asia and were the forerunners of an Indian folk instrument known as the ravanastron. The ravanastron is one of the earliest intact ancestors of the modern violin family. Early ravanastron. In the Middle East, the ravanastron evolved into the rebab, a 2-stringed fiddle that was brought by Byzantium via trade routes, such as the Silk Road. There, it influenced the design and construction of the grandfather of the modern violin family: the Byzantine lyra. Earliest known image of a Byzantine lyra. Carving made in ivory casket, circa. 900 - 1100 C.E. There were many different kinds of chordophones in use throughout Europe during the late Middle Ages and up through the Baroque era (1600 - 1750 C.E.), most of which can trace their ancestry to the Byzantine lyra.

Out of these, the instrument that is generally considered to be the immediate forerunner of the modern violin is the lira da braccio. This instrument reached its peak popularity during the Renaissance era (1450 - 1600 C.E.), enjoying a brief period of supremacy as the preferred sting instrument used to accompany poetic recitations in Italian courts. It was gradually supplanted by the modern violin and virtually disappeared by the mid-17th century. An illustration of a lira da braccio, created by 16th-century composer Michael Praetorious in his book Syntagma Musicum An even more popular Italian stringed instrument than the lira da braccio was the viola da gamba, ancestor of the modern cello. Viola da gambas also thrived during the Renaissance and were commonly used both as solo instruments and played together in small ensembles known as consorts. The names of both instruments refer to the way in which they are held while playing: braccio means 'arm,' gamba means 'leg.' Most viola da gambas had six strings and were supported with the calves and knees of the musician.

Composer Jean Baptiste Forqueray (1699 - 1782 C.E.) with his seven-stringed viola da gamba. Painting by Jean-Martial Fredou (1711 - 1795 C.E.) Development of Modern String Family Although some scholars believe that the first instruments that can be classified as true violins were created in the early 1480s, most agree that the earliest version of the modern violin came into existence during the mid-16th century. The construction of the violin is very similar to that of the lira da braccio, but the violin generally has a rounder bridge and narrower fingerboard. The reason for this is because the lira da braccio was used mainly as an accompaniment instrument and was designed to be able to play chords, which are multiple pitches played at the same time to provide harmonic support for the melody. The violin was increasingly used as a melodic instrument and was therefore designed to minimize the possibility of accidentally playing two or more strings when the performer intends to play only one. The parts of a modern violin The first great violin maker was Andrea Amati (1510 - 1577 C.E.).

Amati lived and worked in Cremona, Italy and is credited with designing the shape and key features of the modern violin, cello, and viola. In particular, some of his most substantial innovations included a slightly convex body, an ornate and carefully crafted scroll design, and the addition of a fourth playing string (many previous models had only three). Amati passed on his craft to his children and grandchildren, starting the first great Italian violin maker dynasty. People who practice the art of crafting stringed instruments are known as luthiers, and the most famous luthier of all time, Antonio Stradivari (1644 - 1737 C.E.), learned his art through an apprenticeship with Nicolo Amati, Andrea's grandson. Stradivarius violins acquired a considerable reputation during the maker's lifetime but are even more in demand today. In 2006, a Stradivarius sold for over $3.5 million dollars. Through the work of Amati and Stradivari, the design for the modern violin family was perfected. An artistic rendition of Antonio Stradivari in his workshop. Painting by Edgar Bundy, 1893.

As was common during the Renaissance era, most instruments were crafted in several different sizes in order to be able to play a wider variety of pitch ranges. These pitch ranges usually corresponded to the natural ranges of the male and female voice. In keeping with this norm, the Amati and Stradivari families and other luthiers built their signature design in several sizes. From Andrea Amati, surviving instruments include two violins of different sizes (corresponding to the soprano and alto ranges), a viola (tenor range), and the significantly larger violoncello, or cello (bass range). Both the violin and viola are braccio instruments, designed to be rested on the upper arm or shoulder and supported with the arm. The cello, however, bears a closer resemblance to the viola da gamba and is held between the legs. Unlike the violin and viola, modern cellos have an addition called an endpin. This small rod is found at the base of the cello's body and helps to support its weight to allow for greater flexibility while playing. This addition became a standard feature of the instrument during the 19th century.

× Antonio Stradivari | jovinacooksitalian March 7, 2014 Antonio Stradivari (1644-1737) was a crafter, like no other, of string instruments, violins, cellos, guitars, violas and harps. He created about a thousand Stradivarius instruments and about 650 survive today, mostly violins. The violin was originally designed to imitate the human voice and was used for ballet and dance music. It became the most prized instrument for orchestra and melody. Stradivari or Stradivarius? Both are used regularly and they actually mean exactly the same. The famous maker’s name was Antonio Stradivari, but it was customary at the time to latinise names, hence Stradivarius. He used Stradivarius on his violin labels and, therefore, it has become almost customary to refer to a violin made by Stradivari, as a Stradivarius. In fact it has almost become a superlative expression, meaning the absolute best, i.e. to be the “Stradivarius” of any field means “to be the best there is”.

Antonio’s ancestry goes back to the 12th century in Cremona, Italy, the capital of violin makers, since the 16th century. Antonio’s parents were Alessandro Stradivari and Anna Moroni. Stradivari likely began an apprenticeship with Nicolò Amati between the ages of 12 and 14, although a minor debate surrounds this fact. One of the few pieces of evidence supporting this is a label in his 1666 violin, which reads, “Alumnus Nicolo Amati, faciebat anno 1666”. However, Stradivari did not usually put the master’s name on his labels, unlike many of Amati’s other students. M. Chanot-Chardon, a well-known French luthier, asserted that his father had one of Stradivari’s instruments with a label stating, “Made at the age of thirteen, in the workshop of Nicolò Amati”. This label has never been found or confirmed. Amati, though, would have been a logical choice for Antonio’s parents, since the master was from an old family of violin makers who were far superior to most other luthiers in Italy at the time.

purfling An alternative theory is that Stradivari started out as a woodworker because the house he lived in from 1667 to 1680 was owned by Francesco Pescaroli, a wood-carver. Stradivari may even have been employed to decorate some of Amati’s instruments, without being a true apprentice. This theory is supported by some of Stradivari’s later violins, which have elaborate decorations and purfling ( a narrow decorative edge inlaid into the top plate and often the back plate of a stringed instrument). Assuming that Stradivari was a student of Amati, he would have begun his apprenticeship in 1656–58 and produced his first decent instruments in 1660 at the age of 16. His first labels were dated from 1660 to 1665, which indicated that his work had reached a quality sufficiently high enough for him to sell directly to his patrons. However, he probably stayed in Amati’s workshop until about 1684, so as to use his master’s reputation as a launching point for his career.

Stradivari was first married to Francesca Feraboschi with whom he had 5 children. After her death, he married Zambelli Costa with whom he had another 5 children. He lived on what is now Piazza Roma 1, where other famous violin-maker’s families lived at the time. Two of his sons, Omobono and Francesco, became violin makers. Though the violins’ construction was influenced by Amati, Stradivari soon developed his own style. His carved heads showed what a skilled craftsman he was and his violins became very popular throughout Europe. It was said that his secret formula for the varnish gave his violins their unique sound. He experimented with the shape and design of the violins and, in the 1690s, the Long Stradivarius with a larger pattern, flatter form, reclined sound holes and a darker, richer varnish emerged that all proved to be a crtical modifications. There were ornate violins, such as the collection made for the Spanish court in 1687, inlaid with ivory and with scrollwork round the sides.

In 1688, Stradivari outlined the heads in black, one of the famous features of a Stradivarius’ violin from that period. Noblemen of the time commissioned him to make instruments for them and, as a result, Stradivari became famous during his own lifetime. Violins were considered fashionable and when the virtuoso violinist, Niccolò Paganini, played a Stradivarius, he was treated like the equivalent of one of today’s rock stars! Some of the earlier violins are referred to as “Amatise” and the later ones as “Long Strads” or “Grand Pattern.” They are all better known by their interesting names which they acquired due to the fame of the owner and by their appearance and sound. In 1698 Antonio began making a slightly shorter model and, between the years 1700-1720, which is considered his “Golden Period,” the violins had higher quality curves, rich varnish, gracefulness and a number of variations.

The violins themselves are like characters, each unique, each having a name and a history, each with its own beauty – names like “Sleeping Beauty,” “Firebird,” “Lincoln,” “Spanish,” “Emperor” and “Leonardo da Vinci”. The “Davidoff” Stradivarius cello is owned by YoYo Ma, the “Barjansky” Strad belongs to Julian Lloyd Webber and “Soil” to Itzhak Perlman. The “Dolphin” is with the Nippon Music Foundation. The “Mendelssohn” sold in 1990 for £902,000, the “Kreutzer” sold in 1998 for £947,500. “Lady Tennant” sold for an enormous $2 million in 2005 through the Christie’s Auction House and “The Lady Blunt” (dated 1721) raised $15.9 million for the Japan Earthquake fund in 2011.

The well-known “Molitor” was bought by Anne Akiko Meyers in 2010 at the Tarisio Auctions for $3.6 million, the “Hammer” (1707) sold in 2006 for $3.5 million and in 2012 the “Baron van der Leyen” Stradivarius sold at the Tarisio auction for $2.6 million. It is not surprising that because of the great value attached to the violins there are a number of forgeries, so these instruments must always be authenticated before purchasing. Museums and orchestras own and house many of the violins and violas but not all the violins are in use. However, the Vienna Philharmonic Orchestra owns several that are in use. The Library of Congress, the Royal Palace of Madrid, the Royal Academy of Music, the Musée de la Musique (Paris), the Metropolitan Museum of Art and the National Music Museum (South Dakota) all have instruments safely kept in good condition. The “Messiah” Stradivarius is not played but is housed at the Ashmolean Museum in Oxford, England.

Antonio Stradivari was a master of his trade and for over sixty years he produced suburb instruments. The last recorded violin was produced in 1737 the same year he died at the age of 93. Both Stradivari and Guarneri instruments are highly regarded today and judging by the value placed on them by society, these instruments are considered a treasure. George Eliot, the poet, captured this sentiment in a line from the poem, “Stradivarius” (1873): “When any master holds twixt chin and hand a violin of mine, he will be glad that Stradivarius lived, made violins and made them of the best’’. Statue in Cremona honoring Stradivarius. Cremona, Italy The city of Cremona is situated in Lombardy, on the left bank of the Po River. It is the capital of the province of Cremona and the seat of the local city and province governments. The city is especially noted for its musical history and traditions, including some of the earliest and most renowned luthiers.

The Province consists of vast plains broken up by woods and large meadows that, thanks to the canals built by inhabitants in centuries past, has been transformed into an extensive, fertile countryside ideal for agriculture. The cuisine of Cremona brings the characteristic tastes of local farms to the table. Cured pork and sausages, including garlic-scented salami, cotechino with lentils, culatello ham and all types of pork that are important ingredients for local recipes. Pickled fruit (mostarda), made here since the Middle Ages, has become well-known. Large slices or whole candied fruit are mixed with mustard and cooked until thick. Mostarda is served with the rich, boiled meat dishes of the region. A typical Cremonese pasta is filled with boiled meats, mortadella and liver and it is served in broth. Tortelli are also a popular dish, as are Salva cheese, Bertolina (a sweet focaccia with egg) and the local dessert, Spingarda. From the ancient origins of this area comes torrone, nougat candy.

Torrone was first made in 1441 to celebrate the marriage of Bianca Maria Visconti (the daughter of the Duke of Milan) and Francesco Sforza. Mostarda di Cremona 12 ounces (300 g) pears 8 ounces (200 g) quinces 6 ounces (150 g) cherries 8 ounces (200 g) apricots 10 ounces (250 g) figs 8 ounces (200 g) peaches 3 tablespoons powdered mustard seed 3 1/2 cups (800 g) sugar 2 cups white wine vinegar Directions Preparing the fruit: Keep the individual kinds of fruit separate. Wash and dry the cherries and figs. Wash the apricots and remove the pits; do the same with the peaches and cut them into halves or quarters if they’re large. Peel, core and quarter the pears and quinces. Heat a quart of water in a large pot and when it begins to simmer slowly stir in the sugar. When it has dissolved, add the quinces. Simmer 20 minutes, then add the pears.

Then the peaches, apricots, cherries and figs, at five-minute intervals. When you’ve added everything, simmer the mixture for 10 minutes, then turn off the heat and let the mixture cool. In the meantime, heat the vinegar and stir in the mustard. Let the mixture cool. Transfer the fruit from the syrup to sterile jars with a slotted spoon. Mix the syrup and the vinegar mixture, pour the combined sauce over the fruit, seal the jars in a processing bath and store them in a cool dry place. Tortelli di Zucca 2 1/4 pounds (1 k) squash (butternut, pumpkin or sweet potatoes) 4 ounces (100 g) amaretti (almond macaroons) 4 ounces (100 g) raisins 4 ounces (100 g) Mostarda di Cremona, recipe above 2 cups (100 g) grated Parmigiano cheese Salt 2/3 cup unsalted butter, melted 2 cups freshly grated Parmigiano cheese Directions Peel and cube the squash and roast in a hot oven until it’s fork-tender.

Grind the amaretti in a food processor and mince the raisins. When the squash is done, blend or process until mashed. Combine the pulp with the amaretti, raisins, cheese and nutmeg; mix well. Cover the filling with a damp cloth and let it sit in a cool place for several hours. Prepare the pasta: Using an electric mixer with a dough hook, mix the ingredients to obtain a firm dough. Knead quite well, for 10-15 minutes or more. When you are ready to make the pasta, roll the dough out very thin with a rolling-pin or with a pasta maker (about 1 mm) and cut it into 4-inch (10 cm) squares. Put a tablespoon of filling in the middle of each square and top with another pasta square tamping down with a fork along the edges to seal them. Bring a large pot of water to a boil and then salt it. Cook the tortelli, a few at a time, for a few minutes, (usually they rise to the surface when cooked al dente) and then remove them with a slotted spoon or spider. They’re delicate and will break if you pour the pot into a colander to drain them.

Put them in a serving bowl, sprinkling them with melted butter and grated cheese, as you add more cooked pasta to the bowl. Boiled Beef With Fruity-Mustard Sauce Ingredients “Mostarda di frutta” to taste Directions Put the whole piece of meat into a pan with water to cover. When the meat starts to boil, add some salt and the diced onions and carrots. Add the rosemary, oregano and bay leaves. Cook the meat, until tender, about 2 hours over low heat. Add the fresh parsley and dill. Turn the heat off and leave the meat in the pan for another 15 minutes. Remove the meat and slice it. Put some meat slices on each serving plate and top with some fruit-mustard syrup and slices of fruit. Homemade Torrone Torrone, the classic Italian nougat. This traditional recipe is scented with honey, orange and almond flavors. As with many egg white-based candies, nougat does not do well in humidity, so try to choose a low humidity day to make this candy. Traditionally, nougat is made with edible rice paper, to make it easier to slice and serve.

If you cannot find any, line your pan with foil and spray it thoroughly with nonstick cooking spray. Smooth the top as best you can and skip the compacting step described below. Ingredients Edible rice paper Directions Prepare an 8×11 inch pan by lining it with plastic wrap that extends over the sides of the pan, then spraying it with nonstick cooking spray, taking care to spray the sides well. (For thinner nougat, a 9×13 inch pan can be used instead.) Place the edible rice paper in a single layer on the bottom of the pan—you may need to cut the pieces to fit the pan. Place the egg whites and salt in the bowl of a large stand mixer that has been thoroughly cleaned and dried. Any traces of grease on the bowl or whisk will prevent the egg whites from beating properly. Combine 3 cups of sugar, honey, corn syrup and water in a large, deep saucepan over medium heat. The mixture will foam up as it cooks, so be sure your pan is large enough to safely handle the rising mixture. Stir until the sugar dissolves, then brush down the sides of the pan with a wet pastry brush to remove any stray sugar crystals.

Insert a candy thermometer and cook the syrup, stirring occasionally, until the mixture reaches 290 degrees Fahrenheit (143 C). When the syrup reaches 270 F (132 C), start beating the egg whites and salt with the electric mixer using the whisk attachment. When the whites form soft peaks, add the remaining 2 tablespoons of sugar, a little at a time, until the whites are shiny and can hold firm peaks. Ideally, this stage should be reached when the sugar syrup reaches 290 degrees F (143 C), but if the whites are at stiff peaks before the syrup is ready, stop the mixer so the whites are not overbeaten. Replace the whisk attachment with the paddle attachment. Remove the pan from the heat and carefully pour the sugar into a large 4-cup measuring cup or similarly sized heat proof container with a spout. With the mixer on medium speed, slowly and carefully stream the hot syrup into the egg whites.

(If you don’t have a container with a spout, be very careful when pouring the hot sugar syrup directly from the saucepan into the mixer.) Increase the speed of the mixer to medium-high and continue to beat the egg whites for 5 minutes, until very thick, stiff and shiny. Add the three extracts and beat briefly to incorporate them. Add the toasted almonds and stir until they’re well-incorporated. The candy will be very sticky and stiff. Scrape the candy into the prepared pan, then use an offset spatula or knife sprayed with nonstick cooking spray to smooth the top. Cover the top completely with another layer of rice paper, cut to fit. Place a pan of the same size on top of the nougat and place a large book or other heavy object in the pan to weigh it down. Let sit at room temperature for several hours. When you are ready to cut the nougat, lift it from the pan using the plastic wrap as handles. Spray a large sharp chef’s knife with nonstick cooking spray and cut the nougat into small squares. If the knife gets too sticky, periodically wash it with hot water, dry it between cuts and re-spray.

Nougat can be served immediately or stored in an airtight container at room temperature. It is sticky and will gradually lose its shape once cut, so for storage purposes, wrap individual squares in nonstick waxed paper. Related articles

Question: What was the first name of Stradivari, who lived 1644-1737, and is famous as a manufacturer of stringed musical instruments?
Answer: Antonio